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Julian Treasure: 5 ways to listen better

VERBS:
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VOCAB:
91

PHRASES:
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PHRASAL VERBS:
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TRANSCRIPT:
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In our louder and louder world, says sound expert Julian Treasure, "We are losing our listening." In this short, fascinating talk, Treasure shares five ways to re-tune your ears for conscious listening -- to other people and the world around you.

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0:11 We are losing our listening.We spend roughly 60 percent of our communication time listening,but we're not very good at it.We retain just 25 percent of what we hear.Now not you, not this talk,but that is generally true.Let's define listeningas making meaning from sound.It's a mental process,and it's a process of extraction.

0:34 We use some pretty cool techniques to do this.One of them is pattern recognition.(Crowd Noise) So in a cocktail party like this,if I say, "David, Sara, pay attention,"some of you just sat up.We recognize patternsto distinguish noise from signal,and especially our name.Differencing is another technique we use.If I left this pink noise on for more than a couple of minutes,you would literally cease to hear it.We listen to differences,we discount sounds that remain the same.

1:03 And then there is a whole range of filters.These filters take us from all sounddown to what we pay attention to.Most people are entirely unconsciousof these filters.But they actually create our reality in a way,because they tell us what we're paying attention to right now.Give you one example of that:Intention is very important in sound, in listening.When I married my wife,I promised her that I would listen to her every dayas if for the first time.Now that's something I fall short of on a daily basis.(Laughter)But it's a great intention to have in a relationship.

1:40 But that's not all.Sound places us in space and in time.If you close your eyes right now in this room,you're aware of the size of the roomfrom the reverberationand the bouncing of the sound off the surfaces.And you're aware of how many people are around youbecause of the micro-noises you're receiving.And sound places us in time as well,because sound always hastime embedded in it.In fact, I would suggest that our listening is the main waythat we experience the flow of timefrom past to future.So, "Sonority is time and meaning" -- a great quote.

2:14 I said at the beginning, we're losing our listening.Why did I say that?Well there are a lot of reasons for this.First of all, we invented ways of recording --first writing, then audio recordingand now video recording as well.The premium on accurate and careful listeninghas simply disappeared.Secondly, the world is now so noisy,(Noise) with this cacophony going onvisually and auditorily,it's just hard to listen;it's tiring to listen.Many people take refuge in headphones,but they turn big, public spaces like this,shared soundscapes,into millions of tiny, little personal sound bubbles.In this scenario, nobody's listening to anybody.

2:58 We're becoming impatient.We don't want oratory anymore,we want sound bites.And the art of conversationis being replaced -- dangerously, I think --by personal broadcasting.I don't know how much listening there is in this conversation,which is sadly very common,especially in the U.K.We're becoming desensitized.Our media have to scream at us with these kinds of headlinesin order to get our attention.And that means it's harder for us to pay attentionto the quiet, the subtle,the understated.

3:31 This is a serious problem that we're losing our listening.This is not trivial.Because listening is our access to understanding.Conscious listening always creates understanding.And only without conscious listeningcan these things happen --a world where we don't listen to each other at all,is a very scary place indeed.So I'd like to share with youfive simple exercises, tools you can take away with you,to improve your own conscious listening.Would you like that?

4:03 (Audience: Yes.) Good.

4:05 The first one is silence.Just three minutes a day of silenceis a wonderful exerciseto reset your ears and to recalibrateso that you can hear the quiet again.If you can't get absolute silence,go for quiet, that's absolutely fine.

4:20 Second, I call this the mixer.(Noise) So even if you're in a noisy environment like this --and we all spend a lot of time in places like this --listen in the coffee barto how many channels of sound can I hear?How many individual channels in that mix am I listening to?You can do it in a beautiful place as well, like in a lake.How many birds am I hearing?Where are they? Where are those ripples?It's a great exercisefor improving the quality of your listening.

4:48 Third, this exercise I call savoring,and this is a beautiful exercise.It's about enjoying mundane sounds.This, for example, is my tumble dryer.(Dryer) It's a waltz.One, two, three. One, two, three. One, two, three.I love it.Or just try this one on for size.(Coffee grinder)Wow!So mundane sounds can be really interesting if you pay attention.I call that the hidden choir.It's around us all the time.

5:23 The next exerciseis probably the most important of all of these,if you just take one thing away.This is listening positions --the idea that you can move your listening positionto what's appropriate to what you're listening to.This is playing with those filters.Do you remember, I gave you those filters at the beginning.It's starting to play with them as levers,to get conscious about them and to move to different places.These are just some of the listening positions,or scales of listening positions, that you can use.There are many.Have fun with that. It's very exciting.

5:54 And finally, an acronym.You can use this in listening, in communication.If you're in any one of those roles --and I think that probably is everybody who's listening to this talk --the acronym is RASA,which is the Sanskrit wordfor juice or essence.And RASA stands for Receive,which means pay attention to the person;Appreciate, making little noiseslike "hmm," "oh," "okay";Summarize, the word "so" is very important in communication;and Ask, ask questions afterward.

6:26 Now sound is my passion, it's my life.I wrote a whole book about it. So I live to listen.That's too much to ask from most people.But I believe that every human beingneeds to listen consciouslyin order to live fully --connected in space and in timeto the physical world around us,connected in understanding to each other,not to mention spiritually connected,because every spiritual path I know ofhas listening and contemplationat its heart.

6:53 That's whywe need to teach listening in our schoolsas a skill.Why is it not taught? It's crazy.And if we can teach listening in our schools,we can take our listening off that slippery slopeto that dangerous, scary world that I talked aboutand move it to a place where everybody is consciously listening all the time --or at least capable of doing it.

7:15 Now I don't know how to do that,but this is TED,and I think the TED community is capable of anything.So I invite you to connect with me, connect with each other,take this mission out and let's get listening taught in schools,and transform the world in one generation to a conscious listening world --a world of connection,a world of understanding and a world of peace.

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GAP FILL

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Below is the vocab for this video.

All

Always

Any

Around

Art

At

Beautiful

Because

Book

By

Call

Careful

Close

Cocktail

Coffee

Cool

Daily

Day

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Down

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Five

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Juice

Love

Many

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Mix

Off

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One

Order

Out

Own

Party

Past

Path

Pattern

Pay

Pink

Position

Process

Room

Share

Simply

Some

Something

Suggest

Three

To

Turn

Why

VOCABULARY MATCH EXERCISE

(Click and hold ctrl to select multiple items). Press SAVE at the bottom of the page when ready.

Below is the vocab for this video.

All - Used to refer to the whole quantity or extent of a particular group or thing:

Always - At all times; on all occasions:

Any - Used to refer to one or some of a thing or number of things, no matter how much or how many:

Around - Located or situated on every side:

Art - The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power:

At - The chemical element astatine.

Beautiful - Pleasing the senses or mind aesthetically:

Because - For the reason that; since:

Book - A written or printed work consisting of pages glued or sewn together along one side and bound in covers:

Into - Expressing movement or action with the result that someone or something becomes enclosed or surrounded by something else:

Juice - The liquid obtained from or present in fruit or vegetables:

Love - A strong feeling of affection:

Many - A large number of:

Married - (Of two people) united in marriage:

Mention - Refer to (something) briefly and without going into detail:

Mix - Combine or put together to form one substance or mass:

Off - Away from the place in question; to or at a distance:

On - Ontario (in official postal use).

One - The lowest cardinal number; half of two; 1:

Order - The arrangement or disposition of people or things in relation to each other according to a particular sequence, pattern, or method:

Out - Moving or appearing to move away from a particular place, especially one that is enclosed or hidden:

Own - Used with a possessive to emphasize that someone or something belongs or relates to the person mentioned:

Party - A social gathering of invited guests, typically involving eating, drinking, and entertainment:

Past - Gone by in time and no longer existing:

Path - A way or track laid down for walking or made by continual treading:

Pattern - A repeated decorative design:

Pay - Give (someone) money that is due for work done, goods received, or a debt incurred:

Pink - Of a colour intermediate between red and white, as of coral or salmon:

Position - A place where someone or something is located or has been put:

Process - A series of actions or steps taken in order to achieve a particular end:

Room - Space that can be occupied or where something can be done:

Share - A part or portion of a larger amount which is divided among a number of people, or to which a number of people contribute:

Simply - In a straightforward or plain manner:

Some - An unspecified amount or number of:

Something - A thing that is unspecified or unknown:

Suggest - Put forward for consideration:

Three - Equivalent to the sum of one and two; one more than two; 3:

To - Expressing motion in the direction of (a particular location):

Turn - Move or cause to move in a circular direction wholly or partly around an axis or point:

Why - For what reason or purpose:

LYRIC RACE

CUT OUT THE LYIRICS FROM THE SONG. LISTEN TO THE SONG AND PUT THE LYRICS IN ORDER.

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TRANSCRIPT FOR THE VIDEO

Click on the transcript text to edit

0:11 We are losing our listening.We spend roughly 60 percent of our communication time listening,but we're not very good at it.We retain just 25 percent of what we hear.Now not you, not this talk,but that is generally true.Let's define listeningas making meaning from sound.It's a mental process,and it's a process of extraction.

0:34 We use some pretty cool techniques to do this.One of them is pattern recognition.(Crowd Noise) So in a cocktail party like this,if I say, "David, Sara, pay attention,"some of you just sat up.We recognize patternsto distinguish noise from signal,and especially our name.Differencing is another technique we use.If I left this pink noise on for more than a couple of minutes,you would literally cease to hear it.We listen to differences,we discount sounds that remain the same.

1:03 And then there is a whole range of filters.These filters take us from all sounddown to what we pay attention to.Most people are entirely unconsciousof these filters.But they actually create our reality in a way,because they tell us what we're paying attention to right now.Give you one example of that:Intention is very important in sound, in listening.When I married my wife,I promised her that I would listen to her every dayas if for the first time.Now that's something I fall short of on a daily basis.(Laughter)But it's a great intention to have in a relationship.

1:40 But that's not all.Sound places us in space and in time.If you close your eyes right now in this room,you're aware of the size of the roomfrom the reverberationand the bouncing of the sound off the surfaces.And you're aware of how many people are around youbecause of the micro-noises you're receiving.And sound places us in time as well,because sound always hastime embedded in it.In fact, I would suggest that our listening is the main waythat we experience the flow of timefrom past to future.So, "Sonority is time and meaning" -- a great quote.

2:14 I said at the beginning, we're losing our listening.Why did I say that?Well there are a lot of reasons for this.First of all, we invented ways of recording --first writing, then audio recordingand now video recording as well.The premium on accurate and careful listeninghas simply disappeared.Secondly, the world is now so noisy,(Noise) with this cacophony going onvisually and auditorily,it's just hard to listen;it's tiring to listen.Many people take refuge in headphones,but they turn big, public spaces like this,shared soundscapes,into millions of tiny, little personal sound bubbles.In this scenario, nobody's listening to anybody.

2:58 We're becoming impatient.We don't want oratory anymore,we want sound bites.And the art of conversationis being replaced -- dangerously, I think --by personal broadcasting.I don't know how much listening there is in this conversation,which is sadly very common,especially in the U.K.We're becoming desensitized.Our media have to scream at us with these kinds of headlinesin order to get our attention.And that means it's harder for us to pay attentionto the quiet, the subtle,the understated.

3:31 This is a serious problem that we're losing our listening.This is not trivial.Because listening is our access to understanding.Conscious listening always creates understanding.And only without conscious listeningcan these things happen --a world where we don't listen to each other at all,is a very scary place indeed.So I'd like to share with youfive simple exercises, tools you can take away with you,to improve your own conscious listening.Would you like that?

4:03 (Audience: Yes.) Good.

4:05 The first one is silence.Just three minutes a day of silenceis a wonderful exerciseto reset your ears and to recalibrateso that you can hear the quiet again.If you can't get absolute silence,go for quiet, that's absolutely fine.

4:20 Second, I call this the mixer.(Noise) So even if you're in a noisy environment like this --and we all spend a lot of time in places like this --listen in the coffee barto how many channels of sound can I hear?How many individual channels in that mix am I listening to?You can do it in a beautiful place as well, like in a lake.How many birds am I hearing?Where are they? Where are those ripples?It's a great exercisefor improving the quality of your listening.

4:48 Third, this exercise I call savoring,and this is a beautiful exercise.It's about enjoying mundane sounds.This, for example, is my tumble dryer.(Dryer) It's a waltz.One, two, three. One, two, three. One, two, three.I love it.Or just try this one on for size.(Coffee grinder)Wow!So mundane sounds can be really interesting if you pay attention.I call that the hidden choir.It's around us all the time.

5:23 The next exerciseis probably the most important of all of these,if you just take one thing away.This is listening positions --the idea that you can move your listening positionto what's appropriate to what you're listening to.This is playing with those filters.Do you remember, I gave you those filters at the beginning.It's starting to play with them as levers,to get conscious about them and to move to different places.These are just some of the listening positions,or scales of listening positions, that you can use.There are many.Have fun with that. It's very exciting.

5:54 And finally, an acronym.You can use this in listening, in communication.If you're in any one of those roles --and I think that probably is everybody who's listening to this talk --the acronym is RASA,which is the Sanskrit wordfor juice or essence.And RASA stands for Receive,which means pay attention to the person;Appreciate, making little noiseslike "hmm," "oh," "okay";Summarize, the word "so" is very important in communication;and Ask, ask questions afterward.

6:26 Now sound is my passion, it's my life.I wrote a whole book about it. So I live to listen.That's too much to ask from most people.But I believe that every human beingneeds to listen consciouslyin order to live fully --connected in space and in timeto the physical world around us,connected in understanding to each other,not to mention spiritually connected,because every spiritual path I know ofhas listening and contemplationat its heart.

6:53 That's whywe need to teach listening in our schoolsas a skill.Why is it not taught? It's crazy.And if we can teach listening in our schools,we can take our listening off that slippery slopeto that dangerous, scary world that I talked aboutand move it to a place where everybody is consciously listening all the time --or at least capable of doing it.

7:15 Now I don't know how to do that,but this is TED,and I think the TED community is capable of anything.So I invite you to connect with me, connect with each other,take this mission out and let's get listening taught in schools,and transform the world in one generation to a conscious listening world --a world of connection,a world of understanding and a world of peace.

PHRASAL VERBS

PHRASES

CUSTOM QUESTION

CONDITIONAL

Below are some sentences from the transcript which have conditionals. Which conditional is each sentence? Try making a sentence with each type of conditional.

The zero conditional is used for when the time being referred to is now or always and the situation is real and possible. The zero conditional is often used to refer to general truths. The tense in both parts of the sentence is the simple present. In zero conditional sentences, the word "if" can usually be replaced by the word "when" without changing the meaning.

The type 1 conditional is used to refer to the present or future where the situation is real. The type 1 conditional refers to a possible condition and its probable result. In these sentences the if clause is in the simple present, and the main clause is in the simple future.

he type 2 conditional is used to refer to a time that is now or any time, and a situation that is unreal. These sentences are not based on fact. The type 2 conditional is used to refer to a hypothetical condition and its probable result. In type 2 conditional sentences, the if clause uses the simple past, and the main clause uses the present conditional.

The type 3 conditional is used to refer to a time that is in the past, and a situation that is contrary to reality. The facts they are based on are the opposite of what is expressed. The type 3 conditional is used to refer to an unreal past condition and its probable past result. In type 3 conditional sentences, the if clause uses the past perfect, and the main clause uses the perfect conditional.
And if we can teach listening in our schools, we can take our listening off that slippery slope to that dangerous, scary world that I talked about and move it to a place where everybody is consciously listening all the time -- or at least capable of doing it (Noise) So even if you're in a noisy environment like this -- and we all spend a lot of time in places like this -- listen in the coffee bar to how many channels of sound can I hear? How many individual channels in that mix am I listening to? You can do it in a beautiful place as well, like in a lake (Crowd Noise) So in a cocktail party like this, if I say, "David, Sara, pay attention," some of you just sat up When I married my wife, I promised her that I would listen to her every day as if for the first time

MODAL VERBS

Fill in the gaps with the correct modal verb

can, could, may, might, must, should, would

A modal verb (also modal, modal auxiliary verb, modal auxiliary) is a type of auxiliary verb that is used to indicate modality – that is, likelihood, ability, permission, and obligation.

These are just some of the listening positions, or scales of listening positions, that you _______ use So I'd like to share with you five simple exercises, tools you _______ take away with you, to improve your own conscious listening When I married my wife, I promised her that I _______ listen to her every day as if for the first time And if we _______ teach listening in our schools, we _______ take our listening off that slippery slope to that dangerous, scary world that I talked about and move it to a place where everybody is consciously listening all the time -- or at least capable of doing it

PREVIEW LESSON PLAN

PUNCTUATION AND CAPITALS

Add capital letters and punctuation to the text below

0:11 we are losing our listeningwe spend roughly 60 percent of our communication time listeningbut we're not very good at itwe retain just 25 percent of what we hearnow not you not this talkbut that is generally truelet's define listeningas making meaning from soundit's a mental processand it's a process of extraction

0:34 we use some pretty cool techniques to do thisone of them is pattern recognition(crowd noise) so in a cocktail party like thisif i say "david sara pay attention"some of you just sat upwe recognize patternsto distinguish noise from signaland especially our namedifferencing is another technique we useif i left this pink noise on for more than a couple of minutesyou would literally cease to hear itwe listen to differenceswe discount sounds that remain the same

1:03 and then there is a whole range of filtersthese filters take us from all sounddown to what we pay attention tomost people are entirely unconsciousof these filtersbut they actually create our reality in a waybecause they tell us what we're paying attention to right nowgive you one example of that:intention is very important in sound in listeningwhen i married my wifei promised her that i would listen to her every dayas if for the first timenow that's something i fall short of on a daily basis(laughter)but it's a great intention to have in a